GREAT EXPECTATIONS
UK, 2012, 128 minutes, Colour.
Ralph Fiennes, Jeremy Irvine, Robbie Coltrane, Helena Bonham Carter, Jason Flemyng, Ben Irvine, Ewan Bremner, Holliday Grainger, Sally Hawkins, David Walliams.
Directed by Mike Newell.
Which novel is Dicken’s most popular? Judging by film versions, A Tale of Two Cities, Oliver Twist and Great Expectations top the list. Here is yet another version of Great Expectations, coming not long after a BBC mini-series with Ray Winstone and Gillian Anderson.
This is quite a lavish re-creation of the novel, especially in the London sequences. It opens, quite briskly, in the marshes with Pip hurrying to his mother’s grave and being startled (as we are) by the sudden appearance of the convict, Magwitch. Those who have read the book and/or seen film and TV versions will know what will happen, although this film makes much more explicit than others, the intricate linking of all the characters by the end.
Ben Irvine plays the young Pip and the role is then taken over by his older brother, Jeremy Irvine (who starred in War Horse). Pip’s sister is a Dickensian harridan Sally Hawkins), but his brother-in-law, Joe Gargery is a most kind and sympathetic character, played in a pleasingly low-key way by Jason Flemyng (who is often an on-screen villain). The atmosphere is built-up with the Christmas dinner, the missing pie and brandy which Pip has stolen for Magwitch, followed by the re-arrest of the convicts. Then the mood changes as Pip is summoned by Miss Havisham to play with Estella (and to have his heart broken by her as Miss Havisham, in her revenge for being jilted, trains Estella to play havoc with men’s hearts). Helena Bonham Carter has yet another opportunity to play a character who has more than traces of madness.
While Jeremy Irvine is central as Pip, perhaps a bit too reserved when we think of John Mills in David Lean’s classic 1940s version, full of energy and enterprise, his relationship with Estella is important but not so central. It is the seeming peripheral characters who shine in this version and have a lot to do. An initially unrecognisable Ralph Fiennes is a most persuasive Magwitch with some fine scenes on his return from New South Wales to England. Robbie Coltrane as Jaggers, who does, in fact, have all the information about how the characters are far more linked than we might have guessed, has an important role. Holliday Grainger, on the other hand, as the adult Estella, is so haughty and cold that it is sometimes hard to believe that Pip has had this undying love for her.
It is the great expectations for Pip that is the central theme, of course. He makes assumptions, as might the audience who do not know the plot, about who his patron is, which leads to some disillusionment when he learns the truth. This film shows him becoming more snobbish, more extravagant as he strains to become the gentleman his benefactor has asked him to be. A lot of pride, a substantial fall. But, Pip does then rise to all the occasions, lessons learned.
With so many versions of the novel, audiences will have decided on their favourite performances and judged the others accordingly. For first-timers, it is a helpful introduction to Dickens and his world (London, when Pip arrives, looking particularly Dickensian). For those familiar, it is another opportunity to enjoy a two hours or more visual immersion in Dickens’ world.
1. Charles Dickens’ novels and his popularity? His plots, characters, coincidences, the drama, melodrama, romance? Dickensian London? Social issues as background to the stories?
2. Audience familiarity with Great Expectations? Details of the plot, the characters, the interconnections? This version geared to a younger audience? The pace of the film representing the pace and style of the novel? The film providing an experience of Dickens’?
3. The 19th century atmosphere, the opening on the marshes, the water, the land, day and night, the homes? The contrast with London, squalid London, wealthy London? The mansions? The role of the Thames? The audience experiencing the feel of 19th century England? The style of the score?
4. The title, Pip’s expectations, the mystery of the benefactor? Wealth, status, Pip and the reality and unreality of his prosperity?
5. The famous opening, Pip running to the cemetery, at the grave of his mother, Magwitch and his sudden appearance? His instilling fear in Pip? The threats, the other convict? The food, the file? Pip’s return, Magwitch free, his gratitude? Two men fighting, caught, Pip’s reaction, the effect on him? Magwitch’s gratitude?
6. Mrs. Gargery, her harshness, hitting Joe, getting Pip? Joe defending Pip? Her cooking, the meal, the guests, the talk, the issue of the pie, keep taking the pie to Magwitch, his running from the room, Pumblechook and the brandy and tile water, the police arriving, everybody joining the chase?
7. Joe and his character, kinds, hard work, blacksmith, his slowness in reading, thinking himself go? Pip and his work with Joe? Mr. Jaggers and his news? Pip’s eagerness? Joe’s be action? Pip’s choice, the fittings, with Mr. Pumblechook, his leaving in his new white clothes?
8. Pip visiting Mr. Jaggers, the issue of the money, Wemmick and his role in the office, friendliness to Pip? Pip walking through London, the abattoir atmosphere, score? His room, meeting Herbert? The background of Herbert and his fight with him at Ms. Havisham’s house? The growing friendship, Herbert’s and Pip ultimately helping him?
9. Pip, the fashionable club, the Finches, his reaction, their extravagance, Drummond and his arrogance, the fights, the behavior at the table and throwing the food, the snobbery? The meal with Jaggers watching? Pip spending the money, eventually meeting Estella? His reaction, the dance, her dancing with Drummond? The prospect of marriage? Her coldness? His continuing infatuation with her?
10. The summons to Miss Havisham, his sister scrubbing him, the mansion, meeting Estella at the gate, her haughty manner, Miss Havisham in the room, dressed as a bride, the decay and the wedding breakfast, the cake? Her wanting him to play? Playing cards with Estella? The return visits, his being fed, sitting on the ground, the gentlemanly fight with Herbert Pocket, the kiss for Estella? Talk, getting to know Miss Havisham, his love for Estella, Miss Havisham finally dismissing him?
11. Miss Havisham, the first impression, her disdain, letting Pip go? Her controlling of Estella? His return, Miss Havisham letting him think she was the benefactor? Playing with him? His later return, Estella abroad? The flashbacks and the story of her engagement, the plot against her, taking her money, her brother and Compeson, the letter, her being abandoned, stopping the clock, shutting out the sun, her life in decay? Estella as her means for revenge on men?
12. Pip and Magwitch’s return, Pip’s shock, revulsion, their talking, his discovery of the truth, letting Magwitch stay? The affection? Magwitch, his working in New South Wales, his prosperity, thinking of Pip, the risk of his return? The possibility of his hanging?
13. Pip and his going to see Jaggers, Jaggers’ explanation, explaining the risks, Wemmick and his help? The interlude with Wemmick and his aged parent, Pip’s visit, later coming to ask for help? Jaggers and his telling Magwitch’s story, criminal, with Miss Havisham’s brother and Compeson, Magwitch’s part in the plot? His wife, her pregnancy, the birth of the little girl, the wife and the murder, the trial, her condemnation? Jaggers taking the child, the story that the child had died, giving the child to Miss Havisham? The irony of Estella being Magwitch’s daughter?
14. Compeson and the search for Magwitch, Magwitch hiding? Wemmick and the warning, the plan, Herbert helping, Jaggers’ advice? The boat, on the river, the police, the boat bearing down on Magwitch, his being saved?
15. The court, Magwitch condemned, Pip seeing him in hospital, his death? Pip telling him that he had a daughter? His death?
16. The years passing, going to work with Herbert, his humbling himself? The visits to Miss Havisham, the explanation, her repentance and regrets? The fire? Her death?
17. Meeting Estella, the tragedy of her marriage, her learning humility, love, her clasping Pip’s hand and the end?
18. A 21st century experience of Dickens?
